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Dissertations / Theses on the topic 'Art geography'
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Mclaren, Beatrice Holly. "Bordering Art : Geography, collaboration and creative practices." Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510776.
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Piercey, Daniel. "Cultural geography : public art and the urban landscape." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323896.
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Rosenberger, Nathan C. "Art in the ashes| Class, race, urban geography, and Los Angeles's postwar Black art centers." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10032310.
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“Art in the Ashes” uncovers the implications of race, place, and class in Los Angeles through an in depth exploration of urban black art centers. By examining a cross-section of creative spaces in the city, including the Watts Towers Arts Center, Compton Communicative Arts Academy, the Inner City Cultural Center, and Brockman Gallery in Leimert Park, this thesis probes the real and imagined meanings associated with these centers’ social, economic, and cultural geography. In doing so, the work redefines and refines current understandings of the black community in the postwar era, exposing the complicated racial and ethnic partnerships and pressures that grew out of art and activism in the 1960s. Through extensive archival research, secondary source analysis, and personal interviews, “Art in the Ashes” finds a vibrant and highly diversified black experience and identity in Los Angeles that closely follows issues of economics, geography, racial understanding, politics, and culture.
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Biltcliffe, Phillippa. "A cultural geography of Victorian art collecting : identity, acquisition and display." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491729.
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Grounded within cultural geography, this thesis focuses on the relationships between art collection and the fashioning of elite identities in the second-half of the nineteenth century. Through two detailed case studies of wealthy collectors, it investigates the ways in which the consumption of art served as a cultural medium through which collectors created distinct identities for themselves, so that collections may be seen not simply as mirrors reflecting Victorian culture, but as constitutive of that culture. Focusing on the geographical aspects of the history of art collecting, the study considers how subjectivities were crafted through negotiation of a series of sites and spaces, collecting networks and journeys. This focus on the spatiality of collections and of collecting identities enriches existing notions of class, gentility and connoisseurship. The empirical core of the thesis is a study of the collections amassed by two wealthy Victorians: Ferdinand Rothschild (1839-1898), an aristocratic and cosmopolitan connoisseur, who specialised particularly in Renaissance and eighteenth-century art objects, and Thomas Holloway (1800-1883), a millionaire businessman and philanthropist known especially for his collection of contemporary Victorian paintings. Through a close examination of the activities and collections of these two very different figures, the thesis explores how their identities and reputations were fashioned through their collections. Part 1 of the thesis provides an account of recent work on the cultures of collecting and the fashioning of class identities, with particular reference to Victorian Britain (Chapter 2). Part 2 considers the relationships between collecting, taste and the fashioning of identities, with reference to Holloway and Rothschild (Chapters 3 and 4). Part 3 examines the different means through which objects were acquired; focusing especially on the contrasting sites of acquisition, including the auction house, the private sale, the art dealer and foreign travel (Chapter 5 and 6). Part 4 focuses on display, considering how art objects were made meaningful through their location in particular places, from the public gallery to the private smoking rooms.
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Ketchum, James Alan. "Journey to the surface of the earth the geoaesthetic trace and the production of alternative geographical knowledge (Sophie Ristelhueber, Laura Kurgan) /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2005. http://wwwlib.umi.com/cr/syr/main.
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Normann, Andrew J. "Art is Not a Crime: Hip-Hop, Urban Geography, and Political Imaginaries in Detroit." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1503059494063247.
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Schreyer, Nadine B. "Space, Place, and Self: The Art of How Environment Shapes Us." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1228821690.
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Thesis (M.F.A.)--Kent State University, 2008.Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Isabel Farnsworth. Keywords: Cognitive mapping; self and place; sculpture and geography; sculpture; geography. Includes bibliographical references (p. 20-21).
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Davis, Nathan E. "Looking more deeply into the Link between Art and Place within the Salish Tribal Culture of Northwest Montana." The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05302008-172318/.
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In northwest Montana, there exists a rich tribal culture and vibrant physical environment. The Salish tribal culture that exists in this environment holds an immense knowledge of the landscape that surrounds it, and the Salish people are intimately tied to this place. They have unique and fascinating culturally informed ways of looking at and interpreting the landscape. It is evident in their artistic traditions and expressions, both in the past and in the present. This research examines the importance of local knowledge in indigenous communities. The intent of this research is to identify links between Salish art and sense of place. The purpose of this research is to develop a curriculum guide that addresses the role art plays in establishing and expressing a sense of authentic human attachment and true belonging in a special or unique place. The curriculum guide will focus upon the artistic traditions and expressions of the interior Salish tribes of northwestern Montanas Flathead Indian Reservation. This study will take a particular interest in exploring how art has changed and how Native artists creatively re-imagine themselves in order to reclaim traditional strength and voice. There will be a focus on the Indian Education for All Laws and Policies, giving teachers an understanding of the policies and laws that affect all people in Montana. The basic research question being asked is: What is the relationship between Salish artistic expressions and sense of place? To answer this question we must develop a good understanding of art, sense of place, and the relationship between art and sense of place. Art and place both have a past, present, and future. The recognition of beauty is found not only in art but also in sense of place. Place is a center of meaning and the same can be said of art. Place and art are both different things to different people. Art and place can be animated, but both express only what their animators enable them to say. Both place and art can only give back to one equally as much as the amount of thought, feeling, and attention which one has devoted to them. Art, as well as place, is animated by the people who attend to it. So, even in total stillness, places or works of art can speak to one. People have relationships with places. These relationships are expressed in numerous ways. Some are expressed through political ritual, religious ceremonies, myth, prayer, music, dance, and architecture. Art can be the place where the tangible and the mythical become the same. Through artistic traditions and expressions conducted daily, monthly, seasonally, or annually, places and their meanings are continually rewoven into the fabric of our life. Art and place both change, while at the same time stay the same.
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Higgins, Darcy. "Marked Space: Public Art and the Public Sphere." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1307382998.
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Banfield, Janet. "Towards a non-representational geography of artistic practice." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:dd12e1c4-f222-435b-adc0-c1bb68e4f4ac.
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Geography’s engagement with art has a long and varied history which, consistent with broader disciplinary developments, has progressed beyond a focus on the representational content of art products to consideration of artistic practices and experiences. However, persistent tendencies to consider artist, artwork and artistic spatiality as distinct and essential render the ‘geography of art’ under-equipped to address the emergence through artistic practice of particular, contingent, mutable and excessive spatialities and subjectivities. With its emphases on practice, affect and experimentalism, I draw on geographical and psychological non-representational thinking – philosophically, methodologically and analytically – to generate an account of such emergent spatialities and subjectivities. I explore artistic, material and implicit means through which they emerge, from within artistic practice, on both an experimental and auto-ethnographic basis. Working alongside participating artists, I varied the spatial and material conditions of our respective practices to encourage participants to do, think about and articulate their artistic practices differently, and employed interview techniques intended to facilitate access to and articulation from implicit or pre-reflective understanding. Four substantive papers consider different aspects of artistic practice in the context of different theoretical literatures. Through these papers, I argue that artistic practice is a form a mythological thinking without explicit mythic content, and identify paired reciprocal processes of interrogation through which spatialities and subjectivities emerge. I propose that the combination of experimentalism and particular material affects within artistic practice sustains a skills-challenge imbalance, which drives further experimentation and generates increasingly individualized practices. I also argue that artistic practice provides both access to and articulation from implicit understanding, allowing the conveyance of implicit meaning both on its own artistic terms and by facilitating explication into linguistic form. I conclude that, collectively, these varied aspects of artistic practice constitute interpenetrative processes whereby the material and implicit function as one, and that by attending to these processes through the creative and analytical means introduced here, geography’s capacity for a non-representational understanding of artistic practice is greatly enhanced.
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Frears, Lucy. "Unlocking landscapes using locative media." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/13330/.
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This interdisciplinary research is situated within the practice and discourse of locative media at the confluence of art, location and technology. The practice-based research project aims to use the arts to address a crisis arising from rapid redevelopment in a marginal coastal town – Hayle, Cornwall. A recent supermarket build on a prominent Hayle heritage quay led to UNESCO’s threat to de-list the entire Cornwall and West Devon Mining Landscape World Heritage Site, awarded only in 2006. Research builds on recent findings on the link between increased sense of self and community cohesion through connection to heritage and participation in the arts. Media artists, participants and theorists have indicated that locative media experiences can promote connection to landscapes and their histories. However, these claims are unsubstantiated by empirical research to date. This research seeks to redress that through systematic analysis (unusual in the arts and therefore distinct). The main research question posed was: Does locative media allow people to develop a deeper connection with landscape and, if so, how? A smartphone deep map app was created – an evocation of a Cornish post-industrial landscape assembled from audio memory traces, sound and visual images revealed using GPS and the moving body. The Hayle Churks app weaves past and present, absence and presence and digital content into physical place. The Hayle Churks app is a research tool and published creative practice that received a national award in 2014. The empirical data is an original contribution to knowledge. Additional contributions include a timeline – a historical overview of the relationship between locative media art and emerging technologies and a deep map app reference tool for artists. The research explores the role of immersion and embodiment and how recording and listening to audio and voice performance affect immersion. Readers of this thesis are encouraged to access the Hayle Churks smartphone app prior to and during reading.
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Jewell, Barbara "babz" M. "CUSTODIAL PRESENCE AT OHIO: A STUDY OF PROFESSIONAL AND SPATIAL PERFORMANCE." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400494993.
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Owen, Evelyn. "Geographies of contemporary African art." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18143.
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This thesis explores how the art world negotiates what contemporary African art means, in the context of the international contemporary art system and in relation to the histories of Western perspectives on Africa. Using conceptual and methodological approaches drawn from cultural geography, it examines the field of contemporary African art, foregrounding the terms of negotiation framing contested geographical imaginations and ideas of Africa. The research considers curatorial practices, exhibitions, art institutions, networks and the wider art infrastructure as an arena in which geographical concepts and categories are formulated, debated and contested in relation to contemporary African art. It draws on interviews with artists, curators, gallerists, collectors and scholars, as well as ethnographic fieldwork conducted in institutions and at art events, to unpick the idea of 'contemporary African art' as a working category and conceptual frame. It reveals tensions running through the field hinging on questions of categorisation, scale and location, the geographical dimensions and implications of which are currently under-explored. The conclusions argue for the importance of geographical awareness in debates around contemporary art from Africa and its shifting position internationally, particularly in the context of globalising trends in the art world and beyond, which engender complex geographies of mobility, identity, belonging and opportunity. The thesis also highlights the relevance of debates around contemporary African art for geographers, proposing new directions in research on art within cultural geography.
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Pankl, Elisabeth Erin. "The critical geographies of Frida Kahlo." Diss., Kansas State University, 2014. http://hdl.handle.net/2097/18795.
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Doctor of PhilosophyDepartment of Geography
Kevin Blake
Mexican artist and global phenomenon Frida Kahlo (1907-1954) fascinates and inspires people from all walks of life. Rather than simply approaching the life and work of Kahlo from a traditional art historical perspective, this dissertation draws from the interdisciplinary nature of critical human geography to investigate Kahlo. Specifically, this work is informed by two sub-fields of critical human geography—feminist geography and cultural geography. Kahlo’s iconic status as a feminist symbol makes feminist geography an obvious choice while cultural geography provides the dominant methodology of textual analysis. Both sub-fields are drawn together by the use of a poststructuralist theoretical foundation that views no one meaning or interpretation as fixed, but rather posits that meanings and interpretations are fluid and open to a variety of conclusions. The primary research question in this dissertation is, “How are the critical geographies of hybridity, embodiment, and glocalization developed and explored in Frida Kahlo’s art and life?” The question is answered through the geographical exploration of Kahlo’s work, life, and iconic status as a major public figure. I delve into each of the three components of the question (hybridity, embodiment, and glocalization) by connecting geographical concepts and understandings to Kahlo and her work. I extend this exploration by arguing that Kahlo demonstrates how the self both mirrors and constructs critical geographies. This research seeks to expand and deepen the understanding of Kahlo as a significant geographical figure—an artist who was intensely aware of people and place. Additionally, this research draws together diverse threads of geographic inquiry by highlighting the interdisciplinary and humanistic qualities of the discipline. Perhaps most importantly, this dissertation positions Kahlo as a critical geographer—defying the sometimes arbitrary and limited notions imposed on the discipline and its practitioners. I assert that Kahlo’s work and life are inherently a lived expression of geographical ideas that manifest themselves in a physical, mental, and emotional sense. Ultimately, Kahlo constructs an embodied geographic text—creating knowledge and helping people understand identity and place in a different way.
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Driver, Alice Laurel. "CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998-2008." UKnowledge, 2011. http://uknowledge.uky.edu/hisp_etds/2.
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This dissertation examines representations of feminicide victims in documentary film, novels, non-fiction, art, and graffiti and argues that these images express anxiety about they way women traverse and inhabit the geography of Ciudad Juárez, often giving precedence to the idea of the public female body as hypersexualized. In order to reclaim memory of the victims some cultural producers focus on the testimonial form in which victims’ families and other activists share their stories or construct informal memorials in the city; these remembrances later appear in works of non-fiction, film, and art, as markers of the process of creating and preserving memory. My dissertation analyzes such works as the documentary Señorita extraviada (2001) by Lourdes Portillo, the non-fiction work Huesos en el desierto (2002) by Sergio González Rodríguez, and the novel 2666 (2004) by Roberto Bolaño, among other cultural expressions, to show how feminicide victims and their families have been marked by and have challenged a pervasive public discourse about female sexuality.
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Mark-Ng, Elsa. "Public Art in Outdoor Space: How Environmental Art Can Influence Notions of Place." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559347543553644.
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Grance, Heather Anne. "Style and the Art of Chaim Soutine: Ethnicity, Nationalism and Geography in the Critical Reception and Historiography." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5324/.
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This thesis argues that art criticism published during Soutine's lifetime emphasizes ethnicity, nationalism and geography in discussions of the artist's style. These critical discussions have influenced the historiography of Soutine published after his death, resulting in a continued emphasis on style that includes references to ethnicity. Ethnicity, nationalism and geography are identified in the critical reception and historiography by noting references, both specific and implied, to Jewishness, French art, and foreign status (among others). These references are analyzed in terms of existing scholarship that addresses concepts of ethnicity and nationalism, and with consideration to how the critical reception has impacted the historiography.
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Rust, Catharine. "Meta-tourism, sense of place and the rock art of the Little Karoo." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1187.
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Thesis (DPhil) (Geography and Environmental Studies))--Stellenbosch University, 2008.The subject is the rock art within the region known as the Little Karoo in the Western Cape that lies between the coastal plain and the Greater Karoo, penned in geographically by the Langeberg in the south and the Swartberg in the north. During a ten year site survey of 150 sites with rock art, content and details of the rock art images have been recorded on site forms and where possible traced on polyester film and photographed. The sites tend to be small with, on average, fewer than 50 images, but then 7 sites have more than 100 images per site. The sites are located mostly in ravines in the mountainous areas. Few sites with rock art have occupation deposits. Human figures in the rock art, predominantly male, are most commonly represented. Other images are animals, such as eland, smaller antelope, elephants, felines, canids and therianthropic figures of half-human, half-animal forms. Finger dots, handprints and geometric or non-representational marks are present in the rock art sample as well. The art can be linked to shamanistic experiences in altered states of consciousness. A number of depictions are interpreted as part of rainmaking ritual and the significance of the symbolism of water. There are resemblances in content and style to the rock art in the Hex River Valley, the Cederberg, and south of the Langeberg, on the coastal plain, but some imagery point to a variation more specific to the Little Karoo. These are rare rock art depictions of a combination of human head and upper torso with ichthyoidal lower limbs, at times reminiscent of bird-like human figures. Verbatim accounts recorded of stories and sightings of numinous watermeide (water maidens) at waterholes and rivers of the Little Karoo and correlations drawn with research on similar folklore in the Northern Cape and elsewhere make a traditional link between these regions. The myth of the watermeide takes on a therianthropic nature in form, that of half-human half-fish, reminiscent of the well-known westernized mystical concept of mermaid features; a description popular in the vernacular. The described form of the watermeid espouses a connection to the uniqueness of the rock paintings of therianthropic figures with distinctive fishtail and human shoulders, head and arms. A connection with explanatory accounts of rock paintings and folklore recorded in the Oudtshoorn district more than a hundred years ago, recorded information of stories and myths of mystical water creatures in the Northern Cape, and verbatim accounts of the watermiede, is made to suggest a basis for interpretation of the therianthropic nature of some of the rock art imagery in the Little Karoo. The rock art is produced in a space and a time frame that may be related to that of the current stories of the watermeide.
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Dunlop, Rachael. "Public art and the contemporary urban environment with an emphasis on transport systems." Thesis, University of Westminster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296116.
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Susino, George James. "Microdebitage and the Archaeology of Rock Art: an experimental approach." University of Sydney. School of Geosciences, 1999. http://hdl.handle.net/2123/606.
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The search for a reliable and non-invasive technique for the dating of rock art has produced an array of different, localised, and limited techniques. This is one of them. Still in its experimental stage, the recognition of quartz microdebitage produced by the pecking of engravings is the aim of this project. This investigation aims to establish whether microdebitage from rock engravings can be distinguished from other sediments. Analysis of microdebitage from rock engraving experiments was used to determine the difference between experimental and naturally derived particles. This research discusses methodology, and applications for the recognition of quartz grain features, derived from experimental and natural material from Mutawintji National Park (Broken Hill, NSW, Australia) and the Sydney region (NSW Australia). A three-step process was devised for this research: What features occur on non-cultural quartz grains? What features occur on rock engraving quartz grains? Are they different? Can rock engraving quartz microdebitage be identified under natural conditions? Microdebitage from rock engravings was examined using optical and scanning electron microscopy to identify diagnostic attributes, with the objective of assessing the potential of microdebitage for spatial and temporal archaeological investigation. Characteristics of the quartz grains in the microdebitage were compared with quartz from differing environments. The observation of diagnostic features on quartz grains made it possible to discriminate between microdebitage from rock engravings and the natural soil background. This knowledge may be applied to excavated material from archaeological sites, for identifying episodes of rock engraving and other lithic activity in temporal relation to other evidence of cultural activity.
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Yarmohammad, Touski Golnar. "Odes to Incongruity: Iranian Contemporary Art in Diaspora." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408639257.
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Donish, Cassandra. "Geographies of Art and Urban Change: Contesting Gentrification Through Aesthetic Encounters in San Francisco's Mission District." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13323.
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While the geographic literature has explored the role of artists as either harbingers or victims of gentrifying processes, this thesis examines the ways in which a particular group of artists contests gentrification. This challenges prevalent narratives in the literature. The Mission Arts & Performance Project (MAPP) is a grassroots, multi-venue neighborhood event featuring art and performance in San Francisco's Mission District. Occurring every other month with no external funding, no formalized organizing committee, and no official leader, it is currently in its tenth year. One of its stated goals is to facilitate community interaction across cultural divides. The purpose of this study was to explore how the individuals and groups involved with the MAPP work to contest gentrification and empower themselves and their multivalent communities through discursive and material practices. Broadly, I aim to interrogate the conditions under which such gatherings take place, the effects, and the implications for understanding how collaborative creative practice can contest gentrification and affect urban change.
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Alexandra, Carla. "Reimagining the city through art : Tactics, opportunities and limitations from Experiment Stockholm." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-132078.
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The transformation of cities is a challenge of global significance that will depend on the capacity to re-imagine the potential of cities, and thus needs more than standard technocratic urban planning approaches. Deep engagement with the arts provides one avenue for recasting the future of cities. This thesis explores the question of how ‘critical urban art interventions’ develop alternative ways of knowing urban nature, and the opportunities and limitations of using art to reimagine the future of cities. By drawing on urban political ecology and cultural geography, the thesis documents and explores the aims and tactics used in five urban art interventions to reimagine sites of urban nature in Stockholm. Qualitative interviews and participant observation were carried to explore these questions. Findings suggest that tactics used in urban art interventions promote embodied ways of knowing, and simultaneously interacting with the physical and socio- historical constructions of sites of urban natures.
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Lukezic, Craig. "The Effect of Soils on Settlement Location in Colonial Tidewater, Virginia." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625336.
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Soudan, Franck. "Le code et le territoire." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAA025/document.
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Sous quelles conditions un territoire est-il construit en regard de la programmation informatique? Comment reterritorialiser Internet à l'échelle du corps? Par où l'algorithme pénètre-t-il nos échanges symboliques? Avec la société i Matériel, puisqu'il s'agit de composer avec les flux d'informations, nous devons presque accepter de partir de nulle part et d'in-terminer notre développement. Aussi, loin de vouloir établir des catégories ou des principes prétendant établir un plan d'action, cette thèse se pose le problème de ce qui toujours, dans un programme, échappe aux codes; des nouvelles images telles qu'elles débordent les écrans et des milieux humains, profondément hybridés par les automates programmés. Pour penser les flux, il est indispensable de considérer un terrain, un fragment de milieu humain. Deux projets en rapport avec cette notion de territoire – une mission de service public visant à mettre en réseau un ensemble d'opérateurs culturels sur la ville de Bourg-en-Bresse, et une œuvre d'art numérique investissant, par le portrait social, la question d'une ré-appropriation individué des flux – nous permettront de faire progresser ce mi-lieu hyper-complexe entre le corps et le programme. En définitive, il s'agira de voir quels genres d'affect il nous est nécessaire de connaître afin que les réseaux numériques accompagnent une augmentation de notre puissance d'existerUnder what conditions a territory is built in regard to computer programming? How to reterritorialize Internet to a body scale? By where the algorithm penetrates our symbolic exchanges? With the i-material society, since we have to compose with the flow of information, we almost have to accept to start from nowhere and un-finish our development. Also, far from wanting to establish categories or principles claiming to establish an action plan, this thesis asks itself the problem of what, in a program, always escapes the codes; new images as they go beyond the screens and human environments, deeply hybridized by programmed automatons. To think flows, it is essential to consider a ground, a human environment fragment. Two projects related to the notion of territory --- a public service mission aimed to develop a network of cultural operators all over the city of Bourg-en-Bresse, and a digital art work investing, with the social portrait, the question of a re-appropriation of individuated stream --- will allow us to progress throughout this hyper-complex halfway between the body and the program. Ultimately, it will be to see what kind of affect it is necessary for us to know so that digital networks accompany an increase in our power to exist
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Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.
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Engelmann, Sasha. "The cosmological aesthetics of Tomás Saraceno's atmospheric experiments." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:481978b1-eb92-4fa9-a514-2bcbbfdd7612.
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This dissertation proposes cosmological aesthetics as a critique of and contribution to geologic, geomorphic and geographical aesthetics. This argument is developed in the context of human geographers' growing interests in the dark, imperceptible and unknown forces and fields of Earth and the cosmos. Attention to such cosmic phenomena amplifies the porosity of distinctions between humans, nonhumans and matter; therefore we require an aesthetic theory at the limits of sensing. In developing this aesthetics, this dissertation draws conceptual support in particular from the non-anthropocentric philosophy of Alfred North Whitehead and from Isabelle Stengers' "ecologies of practice". At the same time, the elaboration of cosmological aesthetics emerges from a site-based creative ethnography of Studio Tomás Saraceno in Berlin, and more specifically, from a series of experiments in transdiciplinary collaboration, writing and teaching with Tomás Saraceno. This dissertation interrogates how the surfaces, webs, envelopes and interstices populating and propagating in Saraceno's artwork affect the transmission and distribution of sensation across spaces and scales: in short, how these forms become technologies of cosmo-aesthetic adventure. By engaging with Saraceno's art projects, from On Space Time Foam to hybrid webs and the Aerocene, and by participating in the atmospheric experiments of aerosolar sculptures, this dissertation articulates two core propositions of cosmological aesthetics: first, that aesthetic experience can create tangible, sensible relations with contexts that are far removed, or much wider than, the particular conditions in which we experiment. And second: such adventures in aesthetics emerge from practices bound together by the forces of obligation, attachment and crucially, imagination. Employing foremost the device of the web, cosmological aesthetics explores propositions for bodies to be creatively extended in a vast and vibrating cosmos.
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Polli, Andrea. "Communicating air : alternative pathways to environmental knowing through computational ecomedia." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/889.
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This dissertation, Communicating Air: Alternative Pathways to Environmental Knowing through Computational Ecomedia, is the culmination of an art practice-led investigation into ways in which the production of ecomedia may open alternative pathways to environmental knowing in a time of urgent climate crisis. This thesis traces the author’s artistic, personal and political development across the period of study and presents an extended argument for greater public engagement with weather and climate science, greater public and private support for long-term collaborations between media art and climate science, and increased public open access to global weather and climate monitoring and computationally modelled data.
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Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.
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Leedy, Alison J. "Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197472.
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Art HistoryM.A.
Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series Throughout this thesis project I examine the geopolitical context(s) of the photographs featured in Martha Rosler's 'In the Place of the Public Airport Series' (1983) and Allan Sekula's series, 'Sketch on a Geography Lesson' (1982). I investigate the manner in which they question the legitimacy of the genre of documentary photography within the post-modern age by emphasizing the documentation of an actual physical place, presenting an alternative to the post-modern notion of photograph merely as another component of simulacra, or the intentional creation of an image without meaning or origin. By looking at photographs that Rosler and Sekula made during the burgeoning stages of post-modern theory, presents a broader interpretation of the development of Marxist documentary photography from the early 1980's to today. One way in which I dialogue with the discourse surrounding documentary photography in the 1980's is to focus on Rosler's and Sekula's intentional choice of material that emphasizes the political dialogue rather than concepts that are abstract and maintain no reference to real life. Furthermore, the period of the 1980's is considered a point in contemporary art history when the political fervor of the 1960's and early 1970's diminished greatly. Departing from this trend, Rosler's and Sekula's work continues to address political ideas throughout the 1980's, creating a bridge to today's photographers, such as Edward Burtynsky and Andreas Gursky who consider aesthetics from a socio-political perspective.
Temple University--Theses
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Gillner, Fred. "Offentlig konst i kommunal förvaltning : Kvalitativ undersökning i tre steg av Västerås stads arbete med offentlig konst." Thesis, Uppsala universitet, Kulturgeografiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-376306.
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The purpose of this study is to investigate how a larger Swedish municipality administer public art and to what extent the practical work relates to the objectives adopted in the municipal comprehensive plan. A qualitative method conducted by semi structured interviews in three tiers with a politician, an official, a representative of an artist organization and a local artist constitutes the base of the study. The interviews are also complemented with subject relevant literature and analysis of municipal documents to support the findings. Results show that the politician and the official have contrasting views on how to concretize the objectives. The discrepancy may cause a misconception of what to expect from public art investments. Further results indicate that municipal practice on the selection of artists, together with the strict bureaucratic framework, may have negative effect on the diversity of artistic expressions that is viewed as important for an attractive city. After years of poor public art management in the surveyed municipality, a foundation is at the time of writing being established to enable more strategic management. Overall the study presents challenges and opportunities about the future of public art management in a mid-sized Swedish municipality.
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Conboy, Matthew L. "Mapping the Cultural Landscape: A Rephotographic Survey of W. Eugene Smith's Pittsburgh Project." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1427825071.
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Thomson, Amanda Repo Taiwo. "In the forest, field and studio : art/making/methodology and the more-than-written in the rendering of place." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=201732.
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This is an interdisciplinary arts practice based PhD that incorporates fieldwork into its exploration of Abernethy Forest in Cairngorms National Park, and Culbin Forest in Morayshire, Scotland. The thesis explores how a contemporary arts practice can articulate a place’s multi-layered complexities and how processes of coming to know influence and impact on the kinds of artworks created. This way of working incorporates an innovative approach that draws on geographical, anthropological, historical and ecological sources, and includes the synthesis of a contemporary arts practice with an ethnographic element - more specifically participant observation, with foresters, ecologists and others - as a mode of gathering. Description and examination of encounters in the field give context to the artwork and provide additional knowledge that lends insight into management practices and the knowledge that these workers possess. The research constitutes an original contribution to investigations of the forests of Culbin and Abernethy and correspondingly innovative outputs. This research proposes that a contemporary arts practice can articulate and communicate aspects and elements of place in ways that offer insights to artists, geographers, anthropologists and others. Central to this is the idea that places are multi-layered, everchanging, embodied, active and containing complex ecological, sensorial and physical histories and presences. Communicating these understandings requires a multi-faceted way of working and multi-modal ways of articulation in recognition of place as an experiential field of investigation. The art produced forms a non-linear, multi-stranded body of work that emphasises the benefits of multiple formats within an arts practice. The thesis enhances and further complicates conceptualisations of place that in geography and anthropology are often restricted to academic writing and demonstrates how artists and others can usefully enlarge and expand the ways in which places can be articulated and rendered.
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Myanaki, Jacqueline. "\"A paisagem no ensino de geografia: Uma estratégia didática a partir da arte\"." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8135/tde-03012005-124908/.
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Esse trabalho propõe um caminho para viabilizar a articulação entre geografia e arte na prática de ensino de geografia no ensino fundamental, a partir do experimento de um conjunto de atividades enfocadas no estudo da paisagem geográfica, nas noções básicas conceituais e sua percepção, utilizando reproduções de quadros de pintores brasileiros. O experimento foi realizado, na sua maior parte, com alunos de 6ª série de diferentes instituições em duas etapas bem definidas. Na primeira etapa, o roteiro de atividades foi desenvolvido com três turmas de três escolas diferentes e cujos professores participaram como observadores e coadjuvantes durante a aplicação das atividades. Na segunda etapa o roteiro foi desenvolvido de maneira autônoma por sete professores de cinco instituições que receberam antecipadamente o material e as instruções necessárias e assistência à distância, quando solicitada. Os resultados das duas etapas demonstraram que é possível articular arte e geografia no estudo da paisagem geográfica de maneira a ampliar a capacidade de percepção e apreensão da paisagem geográfica, bem como sobre as manifestações artísticas, além dessa estratégia representar um aumento no entusiasmo e despertar o interesse dos alunos para o processo de construção do conhecimento.This work proposes a means of attaining a synthesis between Geography and Art in the field of Geography teaching at the primary and intermediate levels. It is based on an experiment comprising of a group of activities focusing on the study of basic conceptual notions and perception of geographic landscape, using paintings by Brazilian artists as a reference. The experiment was mostly carried out in two distinct, well-defined stages with students studying in the 6th grade at different institutions. In the first stage, a series of activities was developed with three groups from three different schools. The groups teachers participated as observers and assistants during the completion of the activities. In the second stage, the activities were developed independently by seven teachers from five institutions that received the material and all the necessary instructions beforehand, as well as long distance assistance, when requested. The results of the two stages show that it is possible to combine Art and Geography in the study of geographic landscape in such a way as to increase students ability to perceive and understand geographic landscape, as well as artistic expression, and at the same time help to stir their enthusiasm and interest toward the processes of knowledge building.
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Viljoen, Vida Alexandra. "Socio-spatialities of visual art in Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96804.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town.
AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.
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Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.
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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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Pons, Jessie. "Inventaire et étude systématiques des sites et des sculptures bouddhiques du Gandhāra : ateliers, centres de production." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040086.
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Les statues et les reliefs narratifs bouddhiques du Gandhāra présentent des points communs qui justifient la désignation d’un « art du Gandhāra » : le matériau, le sujet et la nature composite. Malgré cette évidente homogénéité, il existe d’importantes variations iconographiques et stylistiques. Cette thèse de doctorat tend à mettre en évidence ces variations afin de produire la première identification et caractérisation des langages stylistiques de l’art du Gandhāra. Les réflexions liminaires sur les contextes géographique, historique et religieux dans lesquels l’art du Gandhāra s’est développé sont suivies de prolégomènes sur les cadres historiographiques et théoriques de la recherche. Ils soulignent l’utilité d’une méthodologie et d’une terminologie appropriées ainsi que la nécessité d’un corpus des sculptures correctement documentées sur lequel une étude stylistique peut se fonder. L’inventaire des sculptures a permis d’identifier et de rassembler dans une base de données électronique environ 5000 oeuvres dont la provenance est attestée. La dernière partie se concentre sur l’identification des écoles, des foyers artistiques, des centres de production et des ateliers gandhāriens ainsi que sur leur caractérisation iconographique et formelle. La présentation suit une progression géographique qui permet de montrer la corrélation entre les niveaux stylistiques et la géographie gandhārienne et de déceler des réseaux d’interaction. Cette thèse propose en conclusion une reconstruction provisoire des routes anciennes de la région, un réexamen des chronologies fondées sur l’étude des styles et une réflexion sur la normalisation géographique des iconographies bouddhiquesBuddhist statues and narrative relieves from Gandhāra share common characteristics thus justifying the designation of “Gandhāran art”. The homogeneity of Gandhāran art is certainly manifest in its material, its subject and its composite nature, yet it is possible to distinguish important iconographic and stylistic variations. This doctoral thesis aims to highlight these variations in order to provide the first identification and characterisation of the various stylistic languages of Gandhāran Buddhist art. The introductory reflections on the geographical, historical and religious contexts within which Gandhāran Buddhist art developed, are followed by prolegomena of the historiographical and theoretical frameworks of the research. These emphasise the need for an appropriate methodology and terminology and the necessity for a corpus of correctly documented pieces on which a stylistic study can be founded. The preliminary inventory of Gandhāran sculptures has identified approximately 5000 pieces of known provenance gathered in an electronic database. The last part focuses on the identification of Gandhāran schools, artistic zones, production centres and workshops and on their characterisation in terms of iconography and form. The review is geographically organised, thus revealing the existing correlation between the stylistic levels and Gandhāran geography and allowing the recognition of various interaction networks. The thesis concludes with an attempt to identify ancient routes, a reassessment of old stylistically based chronologies and a reflection on the geographical normalisation of Buddhist iconographies
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Stone, Meredith K. "Decor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493746701891506.
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Hamilton-Wieler, Sharon Jean. "A context-based study of the writing of eighteen year olds : with special reference to A-level Biology, English, Geography, History, History of Art and Sociology." Thesis, University College London (University of London), 1986. http://discovery.ucl.ac.uk/10019612/.
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The development of written literacy has been a major concern of educators and language scholars throughout the latter half of the twentieth century. Theoretical discussions and empirical investigations of language acquisition, development, and use have contributed to an increasing understanding of writing as emerging from a network of interrelationships among context, task, text, language, and cognition. In my first chapter, I look at some of this work of recent years which elaborates upon these interrelationships within a general view of writing as a cognitive act emerging from varied layers of contextualizing influences. What this work reveals is the need for extensive empirical investigations into the nature of these contextualizing influences in order to understand more fully the shaping power of these interrelationships. In view of this need, this study sets out upon a context-based investigation of the writing of sixth formers in six different A-level subjects in order to see how writing emerges from the classroom (and wider) contexts. The task of the next two chapters is to present the empirical data base for the ensuing analysis of classroom language environments. Chapter two elucidates the setting up and carrying out of the investigation, explaining the most critical decisions involved in designing the study, describing the strategy for laying out the ethnographic material accumulated during the period of research, and introducing the teachers and students involved in the research. Chapter three offers six views of writing in A-level classrooms, in the form of contextualized vignettes which try to evoke the language atmospheres of the respective classrooms. These vignettes examine the nature of knowledge which is drawn upon in assigned writing, how students are enabled to transform this knowledge into written text, and how particular written texts relate to the writing registers and conventions generally expected in each discipline. The A-level examination system is shown to be a major contextualizing factor in shaping students' acid teachers' perceptions of the nature of writing which is most appropriate for engaging with the evidence of the six different disciplines. The fourth chapter synthesizes and comments upon the 'thick description' of writing in the six A-level classrooms. In so doing, it proposes an account of the relations between knowledge and composing within the classroom context, showing how different writing tasks bear differently upon levels of knowing in ways which may be characteristic of particular subject areas. It further shows writing to be, for both students and teachers, the site of competing claims upon this knowledge, in terms of demonstrating or extending it. Within these claims, the six teachers converge upon one major aim, somewhat differently conceived and executed within each subject area, of enabling their students to compose "lucid argument" in response to particular topics. It is this enabling process, the range and sensitivity of strategies which teachers develop in order to help their students transform information, knowledge, and understanding to written text, which chapter four identifies as the key contextualizing influence in shaping the writing of the students in these six classrooms. Chapter five takes a thorough analytical look at these enabling strategies, at how and why they are presented in the classroom, at how they are interpreted and taken on board by the students, and at how they are manifested in written text. This chapter is the focal point of the study, drawing upon the theoretical and empirical work discussed in the first chapter in order to explore some of the implications of these strategies in relation to the view of writing as emerging from a network of interrelationships among context, task, text, language, and cognition which informs this investigation. It chapter six, I show how looking at writing in context opens the door to a complexity of issues about the composing of written text. The data reveal writing in its educational context to be the site of conflicting aims which position both teachers and students in serious dilemmas. It is in the reconciliation of these dilemmas that the findings of the study and the implications of these findings have value.
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Rook, Dane. "Doxastic spaces : a new approach to relational beliefs and unstable neglect." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:527f1120-ef63-42db-90a7-ceef40397f6c.
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This thesis introduces and explores a novel construct for studying human beliefs in social science: doxastic spaces. These flexible analytical devices are demonstrated as capturing three key properties of beliefs which are difficult to depict through other formats: the relational, relative, and reflexive properties of beliefs. The doxastic-space paradigm developed by this thesis is likewise shown to enable new and insightful theories about belief formation and change. Two such theories cultivated herein are quantized evidence theory (QET) and entropy-based social learning (EBSL). These theories prioritise not only the evidential bases of beliefs, but also the cognitive limitations on memory and attention that people face in constructing and updating beliefs about their worlds. Such bases and limitations underscore not only the role that context has to play in sculpting beliefs, but also the reciprocal function of beliefs in helping to determine and demarcate context. Part of that context is discussed as being other people relevant in social judgment and learning situations. And interplay between beliefs and context is used to aid explanation for unstable tendencies in neglectful cognition. The work mixes theoretical and empirical investigation of the doxastic-space framework, and suggests that it may serve social science by working to not only forge deeper comprehension of belief dynamics but also to operate as a platform for interdisciplinary exchange.
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Geurts, James, and james@jamesgeurts com. "BLUE-PRINT: Human/Hydrokinetic Drawing Projects." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100326.114926.
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Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.
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Myanaki, Jacqueline. "Geografia e Arte no ensino fundamental: reflexões teóricas e procedimentos metodológicos para uma leitura da paisagem geográfica e da pintura abstrata." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8135/tde-02122008-174011/.
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O principal objetivo desta pesquisa consiste no estudo, desenvolvimento e aplicação de um conjunto de procedimentos metodológicos introdutórios para leitura e percepção da paisagem geográfica, direcionados ao ensino fundamental. Trata-se de uma proposta de articulação de conteúdos de Arte e Geografia baseada na noção de paisagem como texto não-verbal, cuja organização dos procedimentos de leitura recorre a subsídios da semiótica. Os conteúdos de Arte explorados nesta tese buscam identificar as transformações da noção polissêmica de paisagem, concentrando-se no abstracionismo informal e nas paisagens do pintor brasileiro Antônio Bandeira um dos principais representantes dessa tendência no Brasil a fim de possibilitar um processo alternativo de percepção estética da paisagem. Os conteúdos de Geografia alinham-se principalmente com as pesquisas recentes da Geografia Cultural, que após receberem múltiplas contribuições e influências, tais como da Antropologia, da História, da Filosofia fenomenológica e existencialista, concebe a paisagem como texto e como marca e matriz cultural, principais abordagens nas quais esta pesquisa inspirou-se. Após a reflexão teórica, foi realizado o experimento de uma parcela dos procedimentos metodológicos propostos, com alunos de 7ª série. Os resultados demonstraram que é possível uma mudança na percepção e leitura da paisagem geográfica, quando os modelos de paisagem também são modificados. Verificou-se: abandono da perspectiva e incorporação de vários pontos de vista numa mesma paisagem (visão horizontal, vertical e oblíqua); adição das sensações olfativas, auditivas e táteis; o consentimento da escala afetiva na representação dos elementos; possibilidade de vínculo com o aprendizado das representações cartográficas, dado o caráter abstrato das pinturas de paisagens contemporâneas; a leitura não-verbal como estímulo à expressão verbal; alto grau de interesse dos alunos não só pelos conteúdos desenvolvidos, mas principalmente pelas estratégias envolvendo arte e pintura a guacheThe main objective of this research is the study, development and application of a set of introductory methodological procedures for the study and perception of geographical landscapes in elementary education. It is a proposal for the synchronization of the course content of Art and Geography based on the concept of the landscape as a non-verbal text, whose organization of study procedures relies on semiotic assistance. The Art-related content investigated in this thesis aims to identify transformations of the polyssemic notion of landscapes, focusing on informal abstractism and landscapes painted by the Brazilian painter Antônio Bandeira - one of the foremost examples of this tendency in Brazil - in order to create a feasible alternative process for the esthetic perception of landscapes. Geography content is mainly in accordance with recent research in Cultural Geography, which, upon receiving several contributions and influences, for example from Anthropology, History, and phenomenological and existentialist Philosophy, envisages a landscape as a text and a cultural mark and matrix. This approach was the main inspiration for this research. After theoretical reflection, an experiment was carried out involving a part of the proposed methodological procedures among 7th grade students. The results show that a change in perception and study of geographical landscapes is possible, when the landscape models are also modified. The abandonment of the perspective and incorporation of several points of view into a single landscape (horizontal, vertical and oblique view) was noted; addition of olfactory, audio and touch sensations; the contentment of an affective scale in the representation of elements; the possibility of a connection with the learning of map representations, given the abstract character of contemporary landscape paintings; the non-verbal study as a stimulus to verbal expression; a high-level of interest on the part of students not only in the content developed, but mainly in the strategies involving art and gouache painting
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Olmedo, Élise. "Cartographie sensible : tracer une géographie du vécu par la recherche-création." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010683.
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A travers l’étude des pratiques cartographiques des artistes, cette thèse s’intéresse à la cartographie sensible en tant que forme géographique actuelle d’une géographie du vécu. Cette thèse met en lumière l’émergence d’un nouveau mode cartographique : la cartographie pour tracer les expériences spatiales. L’introduction de la notation dans la cartographie donne lieu à de nouvelles modalités d’appréhension et de com-préhension en partant de l’enregistrement du vécu prenant en compte sa dimension sensible et cognitive. A travers une démarche de recherche-création avec les artistes à partir d’expérimentations partagées, cette thèse montre comment les artistes portent aujourd’hui une attention particulière à la cartographie privilégiant sa pratique dans leurs projets de création in situ. Cette cartographie contemporaine suscite des renouvellements tant géographiques que transversaux à l’art et la géographie, dans la mesure où la carte n’est plus un outil de visualisation de l’espace mais en elle-même, un dispositif d’expérience spatiale (dispositif cartographique) ouvrant vers une nouvelle géographie du vécuNo English summary available
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Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.
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Shapins, Jesse Moss. "Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:11021.
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This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period's new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists' work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice.
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Ribeiro, Emerson. "Processos criativos em Geografia: metodologia e avaliação para a sala de aula em instalações geográficas." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-02072014-132435/.
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Esta pesquisa realiza-se diante do processo de construção do conhecimento. Tratase de uma metodologia e avaliação para a sala de aula em instalações geográficas, aplicada no estágio supervisionado para a formação de professores na Universidade Regional do Cariri (URCA), Ceará. Para o ensino de Geografia definimos a instalação geográfica como uma forma de representação de um conteúdo geográfico pesquisado e trabalhado criativamente com signos e símbolos aplicados sobre materiais produzidos ou não pelo homem. Essa instalação pode ser montada na escola/universidade ou para além de seus muros atingindo uma dimensão social. A instalação também é uma forma de expressão artístico-geográfica que ao ser trabalhada no Ensino de Geografia, integrada aos conceitos geográficos e ao currículo, pode apresentar como um eixo importante para processo de avaliação de ensino e aprendizagem. Tendo a pesquisa e a criatividade como elementos essenciais para a formação de professores em geografia, a necessidade de pensar a educação e novas práticas pedagógicas em geografia atravessa os caminhos da pesquisa, como da prática levando o aluno a um exercício didático pedagógico, criativo geográfico e artístico para uma possível transformação do professor do aluno e da sala de aula.This research is carried out in the face of the process of knowledge construction. It is a classroom methodology and evaluation strategy through geographic installations applied to the supervised training of teachers at Universidade do Cariri (URCA), Ceará. For geography teaching, we define geographic installation as a form of representing geographic content that is studied and worked creatively through signs and symbols and applied to materials produced by humans or not. An installation can be assembled at school or university or beyond its walls reaching a social dimension. The installation is also a form of artistic-geographic expression that can present an important axis for the evaluation process of teaching and learning when produced for geography teaching and integrated with geographic concepts and the curriculum. Taking research and creativity as essential elements for the training of teachers in geography, the need to think about education and new pedagogical practices in geography crosses the path of both research and practice, leading the student to a didactic-pedagogical exercise, a creative form that is geographical and artistic for a possible transformation of the student\'s teacher and the classroom.
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Barriendos, Rodríguez Joaquín. "La idea del arte latinoamericano. Estudios globales del arte, geografías subalternas, regionalismos críticos." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/110924.
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Esta tesis explora la relación entre latinoamericanismo, subalternidad y globalidad en el arte. Su objetivo es problematizar la circulación global del arte latinoamericano y poner en cuestión la idea de que en la actualidad asistimos a un boom del arte latinoamericano, similar al que vivió la literatura de la región cuatro décadas atrás. En ella se analizan tres razones principales que suelen esgrimirse a la hora de negar performativamente la categoría «arte latinoamericano»: 1) que compromete e invisibiliza la diversidad cultural de América Latina; 2) que ata al arte latinoamericano con América Latina en tanto que entidad geográfica; 3) que es una imposición construida eurocéntricamente desde fuera. En esta tesis se sostiene que la negación del «arte latinoamericano» se ha convertido paradójicamente en un ‘lugar común’ tanto para poder hablar del arte latinoamericano como para acelerar su circulación en el mercado global. A partir de dicha constatación, se defiende la hipótesis de que es necesario repensar no sólo la manera en la que se establece el ‘coeficiente de globalidad’ del así llamado ‘arte no occidental’ sino también los fundamentos de la idea que sostiene que el «arte latinoamericano» es ya un arte global.
El capítulo I funciona como introducción y en él se sitúa el problema en el que se cruzan el latinoamericanismo y la globalidad a través de una pregunta: ¿pueden hablar las geografías subalternas del arte? El capítulo II analiza la manera en la que se expresa en nuestros días el occidentalismo y sostiene que el esquema centro-periferia ha sido más bien sustituido por el esquema globo-continente. El capítulo III analiza la teoría de la altermodernidad tal cual ha sido propuesta por el curador francés Nicolas Bourriaud. El capítulo IV analiza la emergencia de los conceptos global art world, global art y new globalism de la mano de la exposición Magiciens de la terre (París, 1989). El capítulo V analiza el New Internationalism y la idea de que América Latina constituye una modernidad artística otra. El capítulo VI aborda la circulación global de la idea del arte latinoamericano a través de casos de estudio: la publicación Beyond the Fantastic: Contemporary Art Criticism from Latin (INIVA, 1995); los mapas invertidos de Joaquín Torres-García (1943); el proyecto ICAA Project del Museum of Fine Arts de Houston (MFAH). El capítulo VII analiza el lugar del arte latinoamericano en la revista Third Text. Third World perspectives on contemporary art and culture. Finalmente, el capítulo VIII analiza el revisionismo geopolítico de los museos de arte y su pretensión de corregir el mapa geoestético de la modernidad al incluir a regiones-mundo como América Latina.
Esta tesis plantea una relación novedosa entre imaginación geopolítica, teoría de la modernidad, racismo y pensamiento estético, cruza diversas fuentes bibliográficas, experiencias museográficas y discursos académicos y ofrece una lectura crítica del arte latinoamericano, del latinoamericanismo y de la geopolítica global del arte. Metodológicamente, esta investigación plantea un enfoque extra-disciplinar y trans-académico el cual atraviesa disciplinas como la historia el arte, la estética, la geografía cultural, los estudios postcoloniales, los estudios visuales, los estudios subalternos, la antropología y los estudios globales. En ella se problematizan campos del saber como los Latin American Art Studies, la New Global History y los World Art Studies. Para su redacción se realizaron tres estancias de investigación (New York University, Universidad Nacional Autónoma de México e Institute National d’Histoire de l’Art de París).This PhD research project analyzes the interplays between latinamericanism, subalternity, globality, and visual arts. The focus of this research is to criticize the global dissemination of Latin American contemporary art on the one hand and to call into question on the other the controversial statement that affirms that the Latin American art is currently experiencing a sort of ‘boom’, similar to that ‘boom’ that literature from the region experienced four decades ago. In order to call into question the continuity between these two ‘booms’, this research elaborates on what we called the ‘performative disavowal of the idea of the Latin American art’, that is, by means of talking about Latin American art as a heterogeneous geocultural realm and in doing so, systematically neglecting the pertinence of the category ‘Latin American art’. Measuring the impact of this contradictory strategy, this research analyzes three different arguments that institutions, scholars, artists, and theoreticians point out when the category ‘Latin American Art’ is interposed in order to define, to collect, to exhibit, or to study a supposedly regional-based aesthetic production: 1) that compromises and hides the cultural diversity of the region; 2) that subsumes the idea of the Latin American art under the idea of Latin America as a geographical region; 3) that is the result of an external and Eurocentric understanding of the region. In referring to ‘globalism’ as the ideology that galvanizes the articulation of the so-called global art world, this thesis proposes a radical critique of the way in which institutions establish the ‘coefficient of globality’ of the so called non-Western art on the one hand, and problematizes the idea that we have already eliminated the geo-aesthetic asymmetries that gave shape to the modern world. During the research, diverse fields and disciplinary corpuses have been scrutinized, such as the Latin American Art Studies, the New Global History and the so-called World Art Studies.
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Volvey, Anne. "Art et spatialités d'après l'œuvre in situ outdoors de Christo et Jeanne-Claude." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2003. http://tel.archives-ouvertes.fr/tel-00589628.
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S'inscrivant dans le champ en construction de la géographie de l'art, cette thèse traite de l'œuvre artistique de Christo et de Jeanne-Claude connue du public par The Pont-Neuf Wrapped ou Surrounded Islands, par exemple. Elle investit la dimension spatiale de la production artistique et la dimension spatiale de la réception esthétique d'un objet d'art textile in situ outdoors. Elle met en œuvre pour ce faire, d'une part, des références conceptuelles aux théories de l'action telles qu'elles se développent en géographie depuis une dizaine d'années et, d'autre part, une approche phénoménologique telle qu'elle s'est imposée en géographie depuis une trentaine d'années. En travaillant les articulations entre objet textile, objet d'art et œuvre d'art, elle montre que la dimension spatiale de l'objet-lieu d'art, sa monumentalité physique et symbolique, n'est pas pensable indépendamment de la dimension spatiale de l'œuvre d'art, celle qui est construite dans l'action artistique. Elle montre, par ailleurs, que l'objet textile est utilisé par le spectateur dans une expérience esthétique qui n'est pas seulement visuelle mais tactile et dans le cadre de l'objet-lieu d'art. Cette relation entre espace et utilisation d'objet explique la transposition et l'interprétation géographique d'un appareil théorique issu de la psychanalyse transitionnelle pour qualifier la dimension spatiale de l'expérience esthétique de l'objet d'art. Cette thèse est donc très fortement inscrite dans la pluridisciplinarité : géographie, esthétique et psychanalyse. En mettant en avant les rapports entre terrain, image et action, en replaçant cette relation dans le champ de l'expérience et en la rendant homogène à l'expérience esthétique, cette thèse est par ailleurs conçue comme le fondement d'une réflexion sur les relations entre terrain et image en géographie.
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Hicks, Jonathan Edward. "Music, place, and mobility in Erik Satie's Paris." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5cca39d-7479-4a12-91de-e303a285c81c.
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Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.
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Bluck, Emily C. "Mapping Community Mindscapes: Visualizing Social Autobiography as Political Transformation and Mobilization." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/56.
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Historically, autobiography has been used to perpetuate neo-liberal ideologies. Yet, when autobiography becomes social and is used to engage political communities of color, political transformation is possible. This project, through the collaborative visualization of Asian American social biography using pedagogical and relational methods as a means for engagement, seeks to destabilize dominant notions of time and space, and provide a mechanism for the retention of and documentation of institutional, and social histories using the Asian American Student Union at Scripps College as the site for political praxis.